#nice that they did this tbh

[sunburnacoustic]

Muse Fosters Community Between the Lines of Your Favorite Song

Rolling Stone Magazine spoke to Muse fans earlier this year in 2022 about how Muse bring together a community of fans

Kwasi Boadi, July 29, 2022

In our second Welcome Sessions feature with Jim Beam, we dig beneath the live music frills to explore how strangers in the crowd become quick friends by talking to the supergroup and their most passionate fans

There’s something so communal about going to a Muse show. The experience has a way of inducing a unique catharsis. On the one hand, it’s hard to ignore the tremendous feeling of it all, from the hypnotizing laser light show to the rousing pyrotechnics and the otherworldly visuals.

But beneath the (literal) flash and frills lies something much more intimate. Fans are embracing, fists are pumping, and in spurts, the audience takes on the role of lead vocalist while they roar the lyrics of their favorite records. In these moments, complete strangers become part of something much larger than themselves because there’s community to be found between the lines of your favorite song.

“Nothing beats being in the crowd with music fans when you don’t know what the setlist is,” says self-proclaimed superfan Helen Rose Tooth. “When they start bringing out the songs, and bring out some rarities, and everybody just comes together, you get picked up by the atmosphere.”

Rolling Stone caught up with Rose Tooth and a host of other Muse diehards at a secret homecoming show in Exeter, Devon. Hosted by Jim Beam as part of their Welcome Sessions event series, the intimate gig brought Muse superfans back to the Cavern, a cozy music venue in the South West of England where the band started out by playing for some of its earliest supporters: friends, family, and classmates.

When asked about her favourite song to see live, it only takes Rose Tooth a moment to land on “Definitely ‘Knights of Cydonia’” as her answer. Tom Kirk, a longtime friend of the band, doubles down on the sentiment. ’Knights of Cydonia’ is the ultimate fan singalong. I don’t think Matt needs to even stretch his vocal cords for that anymore because the whole crowd in the arena or festival [is] just bellowing it out. It’s an electrical force of people being completely tuned into the moment like nothing else exists.”

It’s easy to hear why the record elicits a range of emotions from the Muse faithful. The song kicks off with a spellbinding harmonica solo by bassist Chris Wolstenholme. Though everyone in the house knows what’s coming next, the anticipation builds like a roller coaster inching closer to its first big drop. Then, at the perfect moment, Matt Bellamy sends the audience into an auditory free fall once he interjects with a few crackling strums of his electric guitar.

When you’re singing along to lyrics that speak to you, that feeling you get is irreplaceable, and it runs much deeper when you look to your left and see a fellow fan sharing in that communion. There’s a bond created there, an understanding that the words that made such a pronounced impact on your life have struck a chord with someone on a similar frequency. At that moment, a would-be stranger feels more like a kindred spirit.

This belief that you truly feel connected when belonging to a community is rooted in Jim Beam’s two-century history of bringing people together, and that sentiment is evident in talking to another Muse superfan, Hannah Chandisingh. “You’re all in that together”, she says. “And when they break out these really powerful songs, when you actually realize that you and the person next to you are both in floods of tears, [there’s this sense that] ‘I don’t know you, but I love you.’”

It’s a feeling that can transcend language and borders. Danny Yeates has vivid memories of his first Muse show outside of the UK. “I went to Madrid for a VIP experience in 2016,” he recalls. “The fan base was just so different. This guy literally collared me, and [we] just started singing along. Generally, in the UK, it doesn’t really happen that way. The cultures are very different, but we’re here, and the universal language is Muse.”

Muse frontman and songwriter Matt Bellamy describes this lightning in a bottle as equal parts method and magic. “It’s hard to describe the emotions that you feel on stage. Spiritual, I guess some people could describe it that way,” he says. “It’s something otherworldly. Very connective with thousands of people.”

Early on, Bellamy realised he should pen his lyrics through the lens of inclusivity. “Over the years, [I realised that] you know what? I can actually play with this and start writing songs using ‘we’ pronouns instead of ‘I’ and singing about myself. ‘Uprising’ was the big moment where I was like, ‘I’m going to change this song. Instead of it being about me, I’m going to make it about us,’ and I sort of deliberately wrote the lyrics with that in mind.”

That communal spirit can be just as stimulating for the performer as it is for the audience. Muse drummer Dom Howard speaks warmly of that synergy. “It’s an amazing feeling,” he says. “It’s kind of this really reciprocal feeling of you enjoying what you’re doing and them enjoying what you’re playing. It’s a wonderful thing where you’re very much tuned in to each other and aware of how everyone feels.”

In the mind of a songwriter, that reciprocity is a catalyst for growth because feeling understood can be an invitation to push the envelope even further. Bellamy observes that, “there’s a vulnerability in songwriting because you’re digging into workings of your personality and expressions and experiences that you’ve had,” he says. “There’s a kind of confidence that emerges over time when you realise how many other people there are in the world that can relate to that. And over time, that actually gives you a bit more confidence to maybe dig deeper.”

[hinamie]

10 years later

[inkskinned]

so one of the things that's so horrifying about birth control is that you have to, like, navigate this incredibly personal choice about your body and yet also face the epitome of misogyny. like, someone in the comments will say it wasn't that bad for me, and you'll be utterly silenced. like, everyone treats birth control like something that's super dirty. like, you have no fucking information or control over this thing because certain powerful people find it icky.

first it was the oral contraceptives. you went on those young, mostly for reasons unrelated to birth control - even your dermatologist suggested them to control your acne. the list of side effects was longer than your arm, and you just stared at it, horrified.

it made you so mentally ill, but you just heard that this was adulthood. that, yes, there are of course side effects, what did you expect. one day you looked up yasmin makes me depressed because surely this was far too intense, and you discovered that over 12,000 lawsuits had been successfully filed against the brand. it remains commonly prescribed on the open market. you switched brands a few times before oral contraceptives stopped being in any way effective. your doctor just, like, shrugged and said you could try a different brand again.

and the thing is that you're a feminist. you know from your own experience that birth control can be lifesaving, and that even when used for birth control - it is necessary healthcare. you have seen it save so many people from such bad situations, yourself included. it is critical that any person has access to birth control, and you would never suggest that we just get rid of all of it.

you were a little skeeved out by the implant (heard too many bad stories about it) and figured - okay, iud. it was some of the worst pain you've ever fucking experienced, and you did it with a small number of tylenol in your system (3), like you were getting your bikini line waxed instead of something practically sewn into your body.

and what's wild is that because sometimes it isn't a painful insertion process, it is vanishingly rare to find a doctor that will actually numb the area. while your doctor was talking to you about which brand to choose, you were thinking about the other ways you've been injured in your life. you thought about how you had a suspicious mole frozen off - something so small and easy - and how they'd numbed a huge area. you thought about when you broke your wrist and didn't actually notice, because you'd thought it was a sprain.

your understanding of pain is that how the human body responds to injury doesn't always relate to the actual pain tolerance of the person - it's more about how lucky that person is physically. maybe they broke it in a perfect way. maybe they happened to get hurt in a place without a lot of nerve endings. some people can handle a broken femur but crumble under a sore tooth. there's no true way to predict how "much" something actually hurts.

in no other situation would it be appropriate for doctors to ignore pain. just because someone can break their wrist and not feel it doesn't mean no one should receive pain meds for a broken wrist. it just means that particular person was lucky about it. it should not define treatment.

in the comments of videos about IUDs, literally thousands of people report agony. blinding, nauseating, soul-crushing agony. they say things like i had 2 kids and this was the worst thing i ever experienced or i literally have a tattoo on my ribs and it felt like a tickle. this thing almost killed me or would rather run into traffic than ever feel that again.

so it's either true that every single person who reports severe pain is exaggerating. or it's true that it's far more likely you will experience pain, rather than "just a pinch." and yet - there's nothing fucking been done about it. it kind of feels like a shrug is layered on top of everything - since technically it's elective, isn't it kind of your fault for agreeing to select it? stop being fearmongering. stop being defensive.

you fucking needed yours. you are almost weirdly protective of it. yours was so important for your physical and mental health. it helped you off hormonal birth control and even started helping some of your symptoms. it still fucking hurt for no fucking reason.

once while recovering from surgery, they offered you like 15 days of vicodin. you only took 2 of them. you've been offered oxy for tonsillitis. you turned down opioids while recovering from your wisdom tooth extraction. everything else has the option. you fucking drove yourself home after it, shocked and quietly weeping, feeling like something very bad had just happened. the nurse that held your hand during the experience looked down at you, tears in her eyes, and said - i know. this is cruelty in action.

and it's fucked up because the conversation is never just "hey, so the way we are doing this is fucking barbaric and doctors should be required to offer serious pain meds" - it's usually something around the lines of "well, it didn't kill you, did it?"

you just found out that removing that little bitch will hurt just as bad. a little pinch like how oral contraceptives have "some" serious symptoms. like your life and pain are expendable or not really important. like maybe we are all hysterical about it?

hysteria comes from the latin word for uterus, which is great!

you stand here at a crossroads. like - this thing is so important. did they really have to make it so fucking dangerous. and why is it that if you make a complaint, you're told - i didn't even want you to have this in the first place. we're told be careful what you wish for. we're told that it's our fault for wanting something so illict; we could simply choose not to need medication. that maybe if we don't like the scraps, we should get ready to starve.

we have been saying for so long - "i'm not asking you to remove the option, i'm asking you to reconsider the risk." this entire time we hear: well, this is what you wanted, isn't it?

[mugwot]

funnyjokespunperson

[good-to-drive]

[entamewitchlulu]

once i was in a creative writing class in college, and in a bit of humor i wrote the line:

"Um," I said, eloquently.

And my teacher was so adamant that I had to remove it because "um is not an eloquent word, so it makes no sense" and i was like my brother in christ it's called Irony

[qiu-yan]

MDZS and asshole victims: thoughts on the second siege of the burial mounds scene

this post is not about morality judgments. this post is about reader sympathies only.

one rather clever rhetorical trick MDZS employs is putting all the more background "surviving victims of wei wuxian's actions" into one big angry mob at the second siege of the burial mounds, instead of letting them crop up anywhere else in the story. it's easy for a first-time reader to write off the guy who lost a leg at nightless city, or the guy whose parents died at nightless city, because both of those guys are being dicks. they're part of an angry mob baying for wei wuxian's blood--unfairly baying for wei wuxian's blood, because this time he didn't even do the thing they're saying he did. by putting these two victims into a mob of not just fellow victims but also unaffected individuals (ie. sect leader yao, who just showed up for kicks), the story can effectively equate these victims' grievances (ie. "you killed my parents") with unreasonable mob rule--even if these two things might not actually be equivalent.

the effect of this rhetorical trick, then, is that the reader can at once perceive the themes about mob mentality MXTX wishes to convey, and also effectively write off the victims' complaints. "yes, i did that to you, but i literally died already, what more do you want me to do? shall i walk on my knees repenting?" becomes easier for the reader to accept. and more importantly--wei wuxian's likability as a moral and just protagonist is not impacted.

ngl tho. it would be a bit more difficult for the reader to write off these victims' complaints if, instead of meeting said victims in an angry mob, the reader instead met these victims almost anywhere else. imagine if, instead of meeting mr. "you killed my parents" at the second siege of the burial mounds, we instead met him getting smashed at the local bar and crying about how his parents are dead. imagine if, instead of meeting mr. "you chopped off my leg" as a member of an angry mob, we instead met him begging for alms on the side of the road because his disability rendered him unable to work in a wuxia-esque setting. or imagine--if either of these background characters, overcome with survivor's guilt and trauma from nightless city, hung himself in his bedroom, and the next day his body was discovered by his 15-year-old daughter.

all of these scenarios are entirely plausible. you could easily include any of them into the story without changing the main plot at all. but suddenly shit just got a lot more depressing.

however, no such scene would ever be included in MDZS. the reason is that, as a work of fiction, MDZS's single most ardent goal is for us the readers to conclude not just that "we like wei wuxian as a character," but also that "wei wuxian is ultimately a morally righteous person." when the narrative focus shifts onto the people who were actually helped by wei wuxian's actions (mianmian and her family, lan sizhui, the few months of dignity the wen remnants were afforded) this becomes much easier for us to conclude; wei wuxian does indeed look like a hero. but the more narrative focus is given to the negative impacts of wei wuxian's actions--the more the "victims of wei wuxian" (whether actual victims or not) are given a face, instead of abstracted away by broad summaries--the more the reader might side-eye wei wuxian instead. every new victim given a name, given narrative attention that isn't just focused on making them look like an asshole, arouses the reader's sympathies in the opposite direction--and thus increases the risk that the reader might ultimately disagree with the novel's conclusion of "wei wuxian is a righteous person."

tbh, this does not seem like a risk MXTX particularly wants to take. instead, she's mastered the art of writing Asshole Victims.

which is an entirely valid writing decision, because imo basically every work of genre fiction out there does this to some extent.

[sketchy-tour]

Wanted to try my hand at a more sort of story book look! Been a minute since I made a piece like this!!!!

Oh I love these three so so much. Dandy sticks out so much compared to the primary colored pair hehe

[fuckyeahisawthat]

“I don’t think that is what God wants. And I don’t think you want it either.”

This line of Aziraphale’s in the Job minisode keeps sticking out to me. Because this is the heart of the problem, right? This is how Aziraphale can see Crowley so completely and also not at all.

Because yes they suck at open communication and yes it’s because they had to hide their relationship for thousands of years and have so so so much trauma and fear to work through. But ALSO they actually do have a profound difference in how they see the world that keeps coming between them, and it’s not just theoretical but deeply personal to both of them.

Because Aziraphale still wants to believe that God is good. He can’t let go of that because his whole identity is wrapped up in being an angel of the Lord, and if God’s not good then what has he been doing for his entire existence?

And so when bad things are happening he falls back on This cannot be what God wants. The whole of season one, he refuses to believe that God could really want the world to end—even though we now know he knew this was a possibility before the world even started. He keeps going up the chain of command, trying to find someone to intervene. “That’s why I’m going to have a word with the Almighty and then the Almighty will fix it.” As if God doesn’t have all the information or hasn’t been paying attention.

And really, the events of season one reinforce this worldview for him. Because if the Archangel Fucking Gabriel isn’t sure what God wants, then maybe God did want them to stop Armageddon. Maybe it was Aziraphale and Crowley who were doing God’s work after all.

He’s gotten as far as realizing that Heaven’s orders are not the same thing as God’s will, but he still hasn’t detached the concepts of Good and Right from God in his worldview.

Crowley is a good person who does the right thing so he must still be an angel deep down. “I know the angel you were.” The only way Aziraphale can conceptualize Crowley saving Job’s children is, “Come on, you’re a little bit on our [God’s] side.” So Crowley’s fall was a mistake; Crowley belongs in Heaven, where he was so happy before the Fall. Why wouldn’t he want to be an angel again? And yeah maybe Heaven sucks now but God is still good, so there’s hope that the system can be reformed with a change of leadership, and Heaven can be made to actually do good, the way God always intended.

But that’s not how Crowley sees the world at all. He is operating with an entirely different understanding of reality. Because he figured out a long time ago (at least by the time of the Job job, but probably long before that) that you can’t base your sense of morality on what you think God wants. Not just because you don’t know for sure, but because sometimes God’s plans are fucking awful. God in Good Omens is not kind to Her creations. She doesn’t tolerate questions or doubts or disobedience. She’s capricious, turning on the creatures She made and killing a bunch of them when She’s in a bad mood. She punishes indiscriminately and disproportionately. She wagers human lives like gambling chips. The kids were supposed to be dead no matter who won the bet.

I think it’s interesting that Crowley is the one who introduces the idea in season one of “What if the Almighty planned it like this all along? From the very beginning.” That’s probably a comforting thought to Aziraphale, soothing his anxieties about going against Heaven right when he is feeling acute distress at the idea of no longer having a side. (And, in that particular moment, no longer even having a bookshop.)

But it’s not a comforting thought to Crowley. Have you seen what happens when God has a plan for you? It fucking sucks. Woe betide you if you’re the Barbie God decides to play with today. (At bare minimum, you’re coming back with some burn marks and a weird haircut.)

I’ve brought up the line “There are no right people. There’s just God, moving in mysterious ways and not talking to any of us” before, and I tend to focus on the “there are no right people” part. But also, there’s just God.

Aziraphale tends to draw a distinction between God’s will and Heaven’s orders when it suits him, and collapse that distinction when it doesn’t. Crowley almost never differentiates between God and Heaven. There’s just God, and She’s not going to explain why this is happening or listen to pleas for mercy (although Crowley still tries). You can’t trust Heaven or Hell, and you can’t count on God to show up and make everything all right. Sometimes God is in fact the reason that things are not all right. You’re on your own.

(And. Look. Crowley is right on this one. There are certainly aspects of their relationship where they’re both equally responsible for things being a shitshow, but the text is pretty unambiguous about Crowley, a demon, having the most accurate read on the nature of God in the world of Good Omens out of any of the metaphysical characters.)

Crowley rebuilt his entire sense of self, alone, after the Fall. He created himself anew and developed his own moral compass and sense of identity independent of both Heaven and Hell. “The angel you knew is not me.” When Crowley does the right thing, that’s not his angel-ness shining through; that’s just Crowley.

And from a like, trauma recovery point of view, it’s actually very healthy for him to have the realization that sometimes God’s just kind of a dick. He didn’t do anything to deserve getting kicked out of Heaven. None of them did. Just God messing them about because She didn’t like being questioned, or She wanted to see what would happen, or She needed two sides for Reasons and didn’t much care who was on one or the other, or She’s playing some fucked up little game for Her own amusement. (And if there was some Great Plan that required Crowley to fall…well, that is also fucked up. Because it doesn’t matter if there was a reason. It still hurt.)

And while Crowley in general is extremely patient with Aziraphale and his slow, halting journey away from Heaven…it’s gotta sting, every time Aziraphale doesn’t want to believe that God could be cruel, when Crowley is standing right fucking there. It’s gotta hurt when Aziraphale refuses to see something that Crowley knows to be true through his own lived experience. Because it should be enough. What happened to him should be enough to make someone who loves him walk away from Heaven and never look back. And it isn’t.

But of course Crowley is one hundred percent not going to talk about this, if he is even fully self-aware about having these thoughts, because it’s far too painful and vulnerable. (He talks to plants, goats, God, and no one in a bar at the end of the world, but never to Aziraphale.) And so he says “Tell me you said no” and “I think I understand a lot better than you do” because he can’t say Choose me. Just this once, choose me and he can’t say Believe me.

And Aziraphale is not going to think about all this and work it out for himself, because he has a massive lump of denial centered around exactly this thing, that sometimes God hurts people who didn’t do anything to deserve it. I’m sure he’s thought about the Fall in abstract terms, enough to be afraid of it, but not in terms of this is a thing that happened to a person I love. And he has certainly not allowed himself to draw any conclusions about the nature of God from it, because that is far too scary a prospect.

And so they’re stuck. Until they can figure out how to remove this massive landmine from the center of their relationship, they are going to keep having the same fight over and over again, and they’re going to keep hurting each other without fully understanding why.

[dyke-stuck]

spidergirl🕸‼️

redraw of this

[everyones-least-favorite-bard]

support your local lantern!

another blatantly self indulgent western au lmao

[hinamie]

yeah sorry theyre tragic in this au too

jjk atla!au with @philosophiums

[thestarlightforge]

Edit: Tone Tag 😭 I am not yelling at y’all, I’m just exploding in my little gay disabled wandavision young avengers bubble. It’s all excitement/relief/love over here. 😊💙

JAC REPURPOSED WANDA’S CRAPPY RITUALISTIC AMNESIAC STORYLINE FOR GOOD

“JUST PRETEND I’M NOT HERE” JAC SCHAEFFER— 🫠

IT’S NOT TWO KIDS IN ONE BODY, THE HEX INDIRECTLY KILLED WILLIAM KAPLAN, BILLY MAXIMOFF IS REALLY BILLY WITH A REAL SOUL THAT HAD NO HOME—HE’S REALLY WANDA’S SON, TOMMY’S BROTHER

SOME OF HIS MEMORIES GOT MUDDLED AND HE LEARNED TO REPRESS SOME OF HIS MAGIC, BUT HE COULD BARELY EVEN GET OUT CALLING REBECCA “MOM” IN THE KAPLANS’ LIVING ROOM AND HE NEVER REMEMBERED WILLIAM KAPLAN’S LIFE—BECAUSE WANDA’S KIDS WERE REAL AND HERS, WHETHER 45 YEARS OF MISOGYNISTIC COMICS WRITERS LIKE IT OR NOT

“WHO ARE YOU?” “WILLIAM KAPLAN.” “SAY AGAIN?”

“I’M BILLY MAXIMOFF” AND

“I’M NOT THAT NICE” 😭

BILLY MAXIMOFF FELL IN LOVE WITH A BOY, HE DIDN’T JUST TAKE WILLIAM KAPLAN’S BOYFRIEND TO BLEND IN

JAC DIDN’T FORGET ABOUT TOMMY, NO ONE DID—THIS WHOLE THING IS FOR HIM AND HE’S EVERYWHERE

WILLIAM KAPLAN’S LAST WORDS WERE “MOM, LOOK OUT” AND

BILLY MAXIMOFF’S FIRST WORD OUTSIDE THE HEX

WAS “TOMMY” 😭

[murk888]

Aro 👉👈

I DIDN'T HAVE MY TWILIGHT STAGE IN TIME, OKAY?!? Now I watch the films while dying from laughter most of the time, their faces I can't-

MICHAEL SHEEN >>>>> 🛐🛐🛐🛐🛐

[doobledabbadoo]

good morning dillydale!!! slowly tryin to get back on my mr men groove w/ a new ref for miss sunshine!!

[tangents-within-tangents]

I just

look at him

look how cute he is

ahhhhhh